1887
image of Translaboration in a film context
USD
Buy:$35.00 + Taxes

Abstract

Abstract

This study explores the notion of translaboration in the context of audiovisual translation using Stanley Kubrick’s ( ) as a case study. Specifically, it explores the dynamics of translaboration in the Italian version of Kubrick’s film by drawing on archival methods and sources to examine the material traces left by the translation process. The study aims to unveil the translaborative dimension that characterized Kubrick’s approach to film translation, pointing to the specificity of a collaborative interaction in which one participant holds ultimate authority. Findings gleaned from translation-related material in the Stanley Kubrick Archive (University of the Arts, London) are combined with insights from working documents found among the personal papers of Riccardo Aragno, who translated Kubrick’s last five films into Italian for both dubbing and subtitling. Archival documents show that Kubrick was involved in collaborative work with his translators, sometimes adopting an interventionist approach.

Loading

Article metrics loading...

/content/journals/10.1075/target.20077.zan
2020-07-01
2020-08-07
Loading full text...

Full text loading...

References

  1. Kubrick, Stanley
    1971A Clockwork Orange. UK and USA: Polaris Production, Hawk Films.
    [Google Scholar]
  2. 1987Full Metal Jacket. USA and UK: Hawk Films.
    [Google Scholar]
  3. Zierra, Tony
    2017Filmworker. USA: Dogwoof.
    [Google Scholar]
  4. Continuity and Spotting List
    Continuity and Spotting List. Full Metal Jacket. The Stanley Kubrick Archive. The University of the Arts, London. SK/16/4/2/12.
    [Google Scholar]
  5. Audiocassette
    Audiocassette, Scotch 6090m. Riccardo Aragno Papers. Private collection.
    [Google Scholar]
  6. Audiocassette
    Audiocassette, Sony HF 60. Riccardo Aragno Papers. Private collection.
    [Google Scholar]
  7. Audiocassette
    Audiocassette, Sony HF 120. Riccardo Aragno Papers. Private collection.
    [Google Scholar]
  8. Corrected subtitles
    Corrected subtitles. Full Metal Jacket. The Stanley Kubrick Archive. The University of the Arts, London. SK/16/4/2/19.
    [Google Scholar]
  9. Final dubbing script
    Final dubbing script. Full Metal Jacket. The Stanley Kubrick Archive. The University of the Arts, London. SK/16/8/6/13.
    [Google Scholar]
  10. French subtitles
    French subtitles. Full Metal Jacket. The Stanley Kubrick Archive. The University of the Arts, London. SK/16/4/2/17.
    [Google Scholar]
  11. Italian subtitles – first draft
    Italian subtitles – first draft. Full Metal Jacket. The Stanley Kubrick Archive. The University of the Arts, London. SK/16/5/3/42.
    [Google Scholar]
  12. Italian dubbing script – first draft
    Italian dubbing script – first draft. Full Metal Jacket. The Stanley Kubrick Archive. The University of the Arts, London. SK/16/4/2/19.
    [Google Scholar]
  13. Alfer, Alexa
    2015 “Transcending Boundaries.” The Linguist54 (5): 26–27.
    [Google Scholar]
  14. 2017 “Entering the Translab: Translation as Collaboration, Collaboration as Translation, and the Third Space of ‘Translaboration’.” InTranslaboration, edited byAlexa Alfer, special issue ofTranslation and Translanguaging in Multicultural Contexts3 (3): 275–290. 10.1075/ttmc.3.3.01alf
    https://doi.org/10.1075/ttmc.3.3.01alf [Google Scholar]
  15. Anokhina, Olga
    2017 “Vladimir Nabokov and His Translators: Collaboration or Translating under Duress?” InCollaborative Translation: From the Renaissance to the Digital Age, edited byAnthony Cordingley and Céline Frigau Manning, 111–129. London: Bloomsbury.
    [Google Scholar]
  16. Aragno, Riccardo
    1999 Interview with GR Rai, 12March. AccessedJanuary 2, 2020. www.archiviokubrick.it/testimonianze/persone/aragno.html
  17. Bollettieri, Rosa Maria, and Serenella Zanotti
    2017 “The Avant-textes of Translations: A Study of Umberto Eco’s Interaction with His Translators.” Translation Studies10 (3): 263–281. 10.1080/14781700.2017.1326314
    https://doi.org/10.1080/14781700.2017.1326314 [Google Scholar]
  18. Ciment, Michel
    2001Kubrick: The Definitive Edition. Translated byGilbert Adair. New York: Faber and Faber.
    [Google Scholar]
  19. Cordingley, Anthony, and Céline Frigau Manning
    eds. 2017Collaborative Translation: From the Renaissance to the Digital Age. London: Bloomsbury.
    [Google Scholar]
  20. Cordingley, Anthony, and Chiara Montini
    eds. 2015 Towards a Genetics of Translation. Special issue ofLinguistica Antverpiensia, New Series – Themes in Translation Studies14.
    [Google Scholar]
  21. De los Reyes Lozano, Julio
    2015 “Genética del doblaje cinematográfico: La versión del traductor como proto-texto en el filme Rio.” Linguistica Antverpiensia, New Series – Themes in Translation Studies14: 149–167.
    [Google Scholar]
  22. De Higes Andino, Irene
    2014 “The Translation of Multilingual Films: Modes, Strategies, Constraints and Manipulation in the Spanish Translations of It’s a free world…” Linguistica Antverpiensia, New Series – Themes in Translation Studies13: 211–231.
    [Google Scholar]
  23. Díaz-Cintas, Jorge
    2001 “Striving for Quality in Subtitling: The Role of a Good Dialogue List.” In(Multi)Media Translation: Concepts, Practices and Research, edited byYves Gambier and Henrik Gottlieb, 199–211. Philadelphia: John Benjamins. 10.1075/btl.34.25dia
    https://doi.org/10.1075/btl.34.25dia [Google Scholar]
  24. Díaz-Cintas, Jorge, and Aline Remael
    2007Audiovisual Translation: Subtitling. Manchester: St Jerome.
    [Google Scholar]
  25. Di Giovanni, Elena
    2016 “The Layers of Subtitling.” Cogent Arts & Humanities3 (1): 1–15. 10.1080/23311983.2016.1151193
    https://doi.org/10.1080/23311983.2016.1151193 [Google Scholar]
  26. Eisenschitz, Bernard
    1999 “La parole écrite: Extrait des mémoires d’un traducteur.” InL’image et la parole, edited byJacques Aumont, 29–45. Paris: Cinémathèque Française.
    [Google Scholar]
  27. 2013 “Sous-titrage mon beau souci: Notes sur une pratique.” Mise au point, 5. journals.openedition.org/map/1481. 10.4000/map.1481
    https://doi.org/10.4000/map.1481 [Google Scholar]
  28. Hersant, Patrick
    2017 “Author-Translator Collaborations: A Typological Survey”. InCollaborative Translation: From the Renaissance to the Digital Age, edited byAnthony Cordingley and Céline Frigau Manning, 91–110. London: Bloomsbury.
    [Google Scholar]
  29. Heymann, Danièle
    1987 “Le Vietnam de Stanley Kubrick: Un entretien avec le réalisteur de Full Metal Jacket.” Le Monde, 20October.
    [Google Scholar]
  30. 2005 “Stanley Kubrick’s Vietnam.” InThe Stanley Kubrick Archives, edited byAlison Castle, 476–479. Hong Kong: Taschen.
    [Google Scholar]
  31. Jansen, Hanne, and Anna Wegener
    2013 “Multiple Translatorship.” InAuthorial and Editorial Voices in Translation 1: Collaborative Relationships Between Authors, Translators, and Performers, edited byHanne Jansen and Anna Wegener, 1–38. Montreal, QC: Éditions québécoises de l’œuvre, collection Vita Traductiva.
    [Google Scholar]
  32. Jiménez-Crespo, Miguel A.
    2017Crowdsourcing and Online Collaborative Translations: Expanding the Limits of Translation Studies. Amsterdam: John Benjamins. 10.1075/btl.131
    https://doi.org/10.1075/btl.131 [Google Scholar]
  33. Krämer, Peter
    (2015) “‘Complete total final annihilating artistic control’: Stanley Kubrick and Postwar Hollywood.” InStanley Kubrick: New Perspectives, edited byTatjana Ljujic, Peter Krämer, and Richard Daniels, 48–61. London: Black Dog.
    [Google Scholar]
  34. Letawe, Céline
    2017 “Günter Grass and His Translators: From a Collaborative Dynamic to an Apparatus of Control?” InCollaborative Translation: From the Renaissance to the Digital Age, edited byAnthony Cordingley and Céline Frigau Manning, 130–144. London: Bloomsbury.
    [Google Scholar]
  35. Massidda, Serenella
    2015Audiovisual Translation in the Digital Age: The Italian Fansubbing Phenomenon. London: Palgrave Macmillan. 10.1057/9781137470379
    https://doi.org/10.1057/9781137470379 [Google Scholar]
  36. Matamala, Anna
    2010 “Translations for Dubbing as Dynamic Texts: Strategies in Film Synchronization.” Babel56 (2): 101–118. 10.1075/babel.56.2.01mat
    https://doi.org/10.1075/babel.56.2.01mat [Google Scholar]
  37. McAvoy, Catriona
    2015 “Creating The Shining: Looking beyond the Myths.” InStanley Kubrick: New Perspectives, edited byTatjana Ljujić, Peter Krämer, and Richard Daniels, 282–307. London: Black Dog.
    [Google Scholar]
  38. McQuiston, Kate
    2013We’ll Meet Again: Musical Design in the Films of Stanley Kubrick. Oxford: Oxford University Press. 10.1093/acprof:oso/9780199767656.001.0001
    https://doi.org/10.1093/acprof:oso/9780199767656.001.0001 [Google Scholar]
  39. Mendes, Regina
    2015 “Dubbing Directors and Dubbing Actors: Co-authors of Translation for Dubbing.” InAudiovisual Translation in a Global Context, edited byRocío Baños Piñero and Jorge Díaz-Cintas, 253–265. Palgrave Macmillan: London.
    [Google Scholar]
  40. Molina Foix, Vicente
    1999 “El artista maniático.” El País, 8March. AccessedAugust 21, 2018. https://elpais.com/diario/1999/03/08/cultura/920847607_850215.html
    [Google Scholar]
  41. 2005 “El Director Exquisito.” El País, 6March. AccessedAugust 21, 2018. https://elpais.com/diario/2005/03/06/eps/1110094011_850215.html
    [Google Scholar]
  42. Munday, Jeremy
    2012Evaluation in Translation: Critical Points of Translator Decision-Making. London: Routledge. 10.4324/9780203117743
    https://doi.org/10.4324/9780203117743 [Google Scholar]
  43. 2013 “The Role of Archival and Manuscript Research in the Investigation of Translator Decision-Making.” Target25 (1): 125–139. 10.1075/target.25.1.10mun
    https://doi.org/10.1075/target.25.1.10mun [Google Scholar]
  44. Naremore, James
    2006 “Stanley Kubrick and the Aesthetics of the Grotesque.” Film Quarterly60 (1): 4–14. 10.1525/fq.2006.60.1.4
    https://doi.org/10.1525/fq.2006.60.1.4 [Google Scholar]
  45. Nornes, Abe M.
    2007Cinema Babel: Translating Global Cinema. Minneapolis: University of Minnesota Press.
    [Google Scholar]
  46. O’Brien, Sharon
    2011 “Collaborative Translation.” InHandbook of Translation Studies, vol.2, edited byYves Gambier and Luc van Doorslaer, 17–20. Amsterdam: John Benjamins. 10.1075/hts.2.col1
    https://doi.org/10.1075/hts.2.col1 [Google Scholar]
  47. Orrego-Carmona, David, and Yvonne Lee
    eds. 2017Non-Professional Subtitling. Newcastle-upon-Tyne: Cambridge Scholars.
    [Google Scholar]
  48. Palmer, William
    1995The Films of the Eighties: A Social History. Carbondale: Southern Illinois University Press.
    [Google Scholar]
  49. Richart-Marset, Mabel
    2014 “La caja negra y el mal de archivio: defense de un análisis genético del doblaje cinematográfico.” InÚltima tendencias en la investigación sobre traducción para el doblaje, edited byRocío Baños Piñero, special issue ofTRANS: Revista de traductología17: 51–69.
    [Google Scholar]
  50. Romero-Fresco, Pablo
    2013 “Accessible Filmmaking: Joining the Dots between Audiovisual Translation, Accessibility, and Filmmaking.” Journal of Specialised Translation20: 201–223.
    [Google Scholar]
  51. 2018The Accessible Filmmaking Guide. London: BFI.
    [Google Scholar]
  52. 2019Accessible Filmmaking: Integrating Translation and Accessibility into the Filmmaking Process. London: Routledge. 10.4324/9780429053771
    https://doi.org/10.4324/9780429053771 [Google Scholar]
  53. Seddon, Emma
    2019 “Exploring the Social Complexity of Translation with Assemblage Thinking.” InComplexity Thinking in Translation Studies: Methodological Considerations, edited byKobus Marais and Reine Meylaerts, 104–127. London: Routledge.
    [Google Scholar]
  54. Turquety, Benoît
    2015 “Orality and Objectification: Danièle Huillet and Jean-Marie Straub, Filmmakers and Translators.” SubStance44 (2): 47–65. 10.3368/ss.44.2.47
    https://doi.org/10.3368/ss.44.2.47 [Google Scholar]
  55. Whitman-Linsen, Candace
    1992Through the Dubbing Glass: The Synchronization of American Motion Pictures into German, French and Spanish. Frankfurt am Main: Peter Lang.
    [Google Scholar]
  56. Woods, Michelle
    2006Translating Milan Kundera. Clevendon: Multilingual Matters. 10.21832/9781853598845
    https://doi.org/10.21832/9781853598845 [Google Scholar]
  57. Zanotti, Serenella
    2014 “Translation and Transcreation in the Dubbing Process: A Genetic Approach.” Cultus: The Journal of Intercultural Mediation and Communication7: 107–132.
    [Google Scholar]
  58. 2019a “Investigating the Genesis of Translated Films: A View from the Stanley Kubrick Archive.” Perspectives: Studies in Translation Theory and Practice27 (2): 201–217. 10.1080/0907676X.2018.1490784
    https://doi.org/10.1080/0907676X.2018.1490784 [Google Scholar]
  59. 2019b “Auteur Dubbing: Translation, Performance and Authorial Control in the Dubbed Versions of Stanley Kubrick’s Films.” InReassessing Dubbing: Historical Approaches and Current Trends, edited byIrene Ranzato and Serenella Zanotti, 79–100. Amsterdam: John Benjamins. 10.1075/btl.148.04zan
    https://doi.org/10.1075/btl.148.04zan [Google Scholar]
http://instance.metastore.ingenta.com/content/journals/10.1075/target.20077.zan
Loading
  • Article Type: Research Article
Keywords: collaborative translation; dubbing; Stanley Kubrick; subtitling; archives
This is a required field
Please enter a valid email address
Approval was successful
Invalid data
An Error Occurred
Approval was partially successful, following selected items could not be processed due to error